The fifteen minutes of The Stronger encapsulate some challenges of Strindberg's theatrical production: performing time, non-verbal language or the dialogic construction of plot and characters, through the battle of the brains between Mrs. X and Miss Y. Psychological introspection reveals the multifaceted and contradictory nature of human beings and invites the spectators to make up the characters from their own subjectivity. It is one of the most modern twists of Strindberg's theatrical conception and it is linked with the nostalgia that follows the loss of the totalising portrayal of reality, typical of the spirit of the time in Europe, and especially in Scandinavia.

Strindberg knew how to capture and interpret the rhythm of his time and the need for new languages, and he began to show it among his peers, always crossing the boundaries of all genres, arts and disciplines until he reached the limits of understanding, as he did in Inferno or the plays for Intima Teater.

However, Strindberg was a writer with a very high aesthetic awareness and interest in form and The Stronger is an example of this littérature chercheuse, as Barthes would say. In this play, we will accompany Strindberg through the dark and unknown terrain of artistic creation in freedom and will experience to some extent the attraction to the abyss that the artist feels if he unreservedly surrenders to his creative instinct, how he defends from here his contemporaneity and calls on the playwrights of our time.